This year's BookExpo America in Los Angeles featured much of the usual multi-story ballyhoo of years past, with a thinner crowd and thinning expectations for the book industry in general, though with a few bright exceptions. One of these exceptions has been Amazon's Kindle eBook reader, which has become the Pet Rock of the 2008 book industry. Still inscrutable in terms of its limitations (no PDFs, no general Web content) and as awkward as ever, the Kindle is the darling of book-readers on the go who can't afford the space, time or trouble of loading multiple books in their overnight bags and pocketbooks (and yes, one of them might be me when I break my el-cheapo mental barriers).

It's also becoming the darling of traditional media outlets, which have the ability to push print-like materials into a medium that's unbound from print production limits, enabling them to maximize revenues when a title gains its peak value in a very short period of time. AP notes that former White House press secretary Scott McClellan's new book on his experiences in the Bush administration sold out quickly at Amazon in print format but that the book continued to sell briskly in Kindle eBook format, albeit at a lower price. There's some question as to exactly how much Amazon really makes on the book sales themselves (the New York Times claims along with others that Amazon takes a bath on each Kindle book sale), but as Amazon CEO Jeff Bezos noted that the Kindle is still in its developmental phase it's likely that book publishers' existing business models are considered a part of the platform's developmental cost at this point.

Silicon Valley Insider's back-of-the envelope model for Kindle sales noted that if the Kindle business scales as quickly as Apple's iPod/iTunes business scaled it's possible that Amazon could be enjoying more than USD 740 million in combined Kindle device and content sales by 2010. That's highly speculative, especially given that there had been more than a decade of well-established consumption of music via online portals before the iPod came along to become a cool fashion tool for content amongst the young. Book publishers face a far tougher proposition of moving beyond a graying population of book enthusiasts still young enough to value technology as a status symbol towards younger generations that have yet to discover books at all in a big way. A whole generation of college students is now coming of age that has not ever turned a paper page on a regular basis. So Kindle's ability to grow rapidly beyond its early adopters into iPod-like growth is still in question.

That may suit book publishers just fine in the short run, given their need to maintain a pricing structure that covers the 99 percent of their sales still done in print. But now that they have locked themselves into a proprietary DRM-secured format for Kindle content they have in essence handed Amazon the keys to the paper mill for electronic content. Certainly Sony's eBook platform provides a "Brand X" that will generate the illusion of consumer choice in eBook reading, but with the extensive infrastructure and branding of Amazon people wanting to purchase content rapidly for their eInk-displayed content will have but one real choice. If in fact eBook sales rise rapidly enough to push Amazon into a position of dictating book industry pricing, then book industry executives may be wondering why they didn't consider the music industry's death at the hands of iPod's proprietary 99-cent downloads as a lesson to have been studied more carefully.

Fortunately the book industry has the opportunity to adapt to these changes in relative slow motion compared to the music industry's fast-forward realization that Apple had stolen their business model. In doing so book publishers may want to consider how music companies are learning to benefit more from broader artist management services as a supplementary line of business. As noted in The New York Times recently Universal Music Classical Artists Management and Productions has been formed as a unit to produce and profit from live performances of music and artist fan items other than CDs. Thinking of the good fortune my friend David Meerman Scott has had on the speaking circuit in the wake of his runaway hit business book "The New Rules of Marketing and PR" (available as a Kindle book also, of course), how much more could his publisher have profited from his management as a speaker as well as from his imprinted word?

At the same time book publishers are becoming smarter about benefiting from the value of book content in pre-print communities as well. My own relationship with John Wiley & Sons has enabled content from my own forthcoming book "Content Nation" to be posted online and publisher programs such as O'Reilly's Rough Cuts are well into developing pre-print subscription communities for tech book consumers that act more as knowledge exchanges than peeks at books before publication - artist management for art still in the making, if you will. So although there are certainly exposures that publishers face via Amazon's proprietary eBook platform they are already developing more diversified revenue channels to maximize the value of their content.

Future iterations of the Kindle are no doubt going to change the shape of this debate significantly, but for now it's probably good that the intense interest in Kindles from a relatively narrow band of book readers is probably going to grow more slowly than some would think. It opens the possibility that book publishers will be able to develop an approach to eBooks that will open the marketplace to far greater competition amongst technology platform providers - and more opportunities for more ways to package and sell content on eBook platforms.

Although the Kindle itself is proprietary it is using the Sprint telecommunications company's broadband wireless network in the U.S., a strong network with standardized communications technology that could easily accommodate any number of services providing downloads of eBooks and other media. Enabling any media service to provide subscription or on-demand downloads into any device at a cost lower than typical broadband Internet services via such a network might accelerate a market for competitive platforms before Amazon gets to flood the market with cheaper Kindles at a not-so-distant future point in time. Here's hoping that publishers of books and other media jumping in the Kindle bandwagon think carefully about who should be in control of their distribution mechanism before locking themselves into being curators of content proprietary to emerging mobile platforms.

Labels: amazon, broadband wireless, eBooks, kindle, publishers

There are any number of people highlighting pop music superstar Madonna's jilting of her contract with Warner Bros. Records in favor of events producer Live Nation, the loudest of recent label signoffs that include pop bands Radiohead and Nine Inch Nails. Music publishers have been squirming desperately to keep consumers from dropping their habit of purchasing copyrighted content from them with lawsuits, DRM and any other types of mechanism they can manage, but sadly they have been unable to overcome the key factor in today's media: distribution is dead and relationships in the right venues rule.

To me the key factor leading up to this move was no doubt the bellweather Rolling Stones tour that recently completed with a record USD 500 million-plus in the bank. When creaking, croaking rock stars can pocket half an extra-large by filling arenas with little more than name recognition, why do they need allegiances to plastic disk distributors to reach people who love them?

I am reminded of our definition of content posted on Wikipedia in this regard: "Information and experiences created by individuals, institutions and technology to benefit audiences in contexts that they value." Events are content by any measure under this definition. We are seeing artists whose primary value comes to life in venues in which they can develop relationships with audiences discovering that music publishers are failing to help them build those relationships effectively in an era of Web-based content distribution. By focusing on protecting the unit sales of copyrighted materials music publishers lost the opportunity to negotiate a compelling position for themselves in the relationship building business that is at the heart of today's Web-powered content industry. Events producers know how to build a crowd and work it for maximum profit in the venues that matter most to an artist's audience.

This contextual approach to profiting from content is as old as artistic performance itself and one that is the dominant factor in the music industry yet again. Online venues such as social media sites that help artists to merchandise themselves to their fan base through videos and downloads and sponsored appearances help them to profit from relationships in valuable contexts as well. While the labels crow aoout six-figure copyright infringement suit awards and try to sue people for listening to someone else's radio at work these punitive actions only seem to decrease the value of their brands as credible venue sponsors that could build the marketable value for their artists.

Relationship marketing is all the rage on many levels of the publishing industry, including B2B trade publishing. B2B publishers are discovering that where once their events marketing was the tail on their revenue dogs increasingly events marketing and marketing through Cost-Per-Action pricing is putting more emphasis on conversational content and collaborative marketing efforts. Social media venues that are becoming increasingly popular in publishing add to the mix of content-as-a-marketable-venue plays that have little to do with yesterday's mass production publishing culture. It takes a different kind of producer to succeed in producing this kind of revenue mix - a factor that both music publishers and other publishers need to adapt to as quickly as possible. You can always make money selling copyrighted content, but today's money is in marketing what cannot be copied - the unique venues and the relationships that they foster built around valuable content.

Labels: CDs, downloads, events, labels, madonna, music, publishers

CNET News reports in the past tense on the net neutrality movement, the effort by a coalition of online publishers and technology companies to keep U.S. telecommunications companies from charging different rates for Internet access based on arrangements with content partners. CNET notes that in the wake of last year's successes in stalling changes to current policies and new focus on carving up the 700 MHz radio spectrum for wireless broadband access the movement has become fragmented. The original "It's Our Net" group has reformed as the Open Internet Coalition, trimmed down from 148 to 74 members, with major technology and portal players such as Microsoft and Yahoo out of the picture. Notably Apple was never a part of this coalition, a fact underscored by its interests in acting as a "toll gate" of its own sort as it uses its iPod and iPhone proprietary platforms to pressure media companies into price cuts for premium content.

All of this could be relatively moot except that while legislators and companies may be focused on other things the communications companies who have so much at stake have certainly not forgotten their original goals in opposing net neutrality. In a parting gift to communications companies outgoing U.S. Attorney General Alberto Gonzales filed an ex parte filing (PDF) with the U.S. Federal Communications Commission suggesting that net neutrality regulations were not necessary to ensure open competition. The absence of Yahoo and Microsoft from the coalition and their advancing plans to develop premium content services may also imply that they see themselves becoming more like Apple and being able to dictate content pricing and licensing terms to a broader array of content providers through alliances with communications companies.

In the bigger picture, then, the fight for neutral access to publications over public infrastructure
is far from over and in fact widening with the 700 MHz spectrum also in play. In all of this traditional publishers have been largely in the background, with no apparent major role in the lobbying efforts. This seems to be wishful thinking at best, akin to the efforts of publishers to ignore the Web in its early days, but now only worse since such a large percentage of their growth depends on it. The New York Times reported dwindling revenues from their ever-smaller print editions yet a 28 percent increase in online revenues, to cite one example of robust online revenue growth. If there were a chance that newsprint or mailing costs would go up publishers would be all over it: why do they ignore potential regulations that may have a huge impact on the profit margins of their most promising new source of revenues?

In the meantime the opting out of Microsoft and Yahoo from the net neutrality movement and the non-participation of Apple points towards what many publishers hope: that a handful of major portals can help along with communications providers to re-create the cable television model and create a brand advertising Nirvana where consumers behave as they ought to and pay for premium access. Yet with user-generated content and search engines providing more context for content than ever before it's not clear why consumers will be persuaded easily to opt for being charged premium prices for access to specific sources when flat-rate access has been such a successful way for them to determine for themselves what's worthwhile content.

In largely ignoring the net neutrality debate publishers' hopes for controlled access are more likely to fall prey to communications companies and portals who will take higher percentages of their revenues from their online content through access channels that are not optimized for audience growth and that will give them less autonomy on pricing. The open Web may be a bit more of a wild and wooly place for some publishers but for those that have embraced it most efficiently it has been the most promising revenue and profit driver in an era where many channels are becoming far leaner and meaner. It's time for publishers to think about what's really in their best long-term interests and to begin to embrace net neutrality as an essential component for both audience and margin growth.

Labels: apple, Congress, FCC, Google, Justice Department, Microsoft, net neutrality, publishers, Trends, U.S., Yahoo